Puppets’ Preexistence And This Life

As a substitute, “puppet” has transformed from the identity of early tomb figure of involving death into a symbol of someone in the primitive witchcraft. In the uncivilized society, combination of production, war and disasters endowed this rough figure with will of people by desire and imagination. With the interaction of props, ritual and the altar, “puppet” began to produce the form of theatre in the origin of witchcraft. However, people began to believe that there was a more powerful domination hidden behind the nature after the failure of intervening in the unknown, thus a favor and comfort towards the divine was formed in the early religion. From the substitute to the possession, a performance is regarded as the coming of the God, which is a kind of selection, combing and reconstruction of events. In this process, the pleasure of manipulation and the experience on the microscopic world have thus been extracted, becoming the puppet show which is based on texts including myths and legends and historical stories.Through researching and combing the origin and historical development of puppet show and witchcraft, this paper intends to describe the particularity of puppet show for the daily life, spectators as well as performers from the perspective of psychology, which is the distinctive feature differing from the general drama and also a reflection on the predicament of the puppet show in the contemporary media era. At the same time, it also provides a starting point for the new puppet show which takes art intervention as a means. Therefore, after analyzing and referring to several cases such as the Handspring Puppet Company and Giant French Puppet, several possibilities and ideal strategy of applying puppet show to the contemporary society perhaps can break the beginning style of stage frame and to re-engage in this society and daily life.